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"This year's Communicating the Museum conference is being held in the elegant, creative and historic German city of Düsseldorf. Our theme this year is the Visitor Experience and the vital role it plays in building and retaining audiences. Leading international speakers and practitioners will present important and ground-breaking thoughts and ideas on: * creating the very best experience for all visitors * cutting edge visitor research from around the world * generating income from visitors * the dynamic and creative relationship between marketing and the visitor experience - the unified tone of voice and customer service * brand and the visitor experience * interpretation and learning * the future of the visitor experience - on-line and beyond"

Museums are exploring digital and mobile technologies to enhance visitor experience. Initiatives go beyond technology within exhibits and installations, but also include more pervasive uses of tech to create interactive experiences for visitors throughout a museum, as well as remote experiences for those who cannot get there.

The ubiquity of mobile devices and the advent of augmented reality provide an opportunity to explore the use of interactive design in what is traditionally a difficult educational space: the art museum. The NGA Experience app (shown here on an iPhone but theoretically platform-agnostic) uses augmented reality to populate the art museum with a digital layer of content that is virtually infinite, yet completely optional for visitors. Such an application of AR in the museum ultimately provides a greater level of control and engagement to the museum visitor and enhances his or her opportunity for a meaningful experience without altering the physical space of the gallery.

Concluding this two-part article, we hear from creative professionals who are leading the way in this relatively new world of combining the craft of storytelling with user experience. We'll also see how storytelling can be applied to more than just interactive experiences: we find it in everything from packaging to architecture.

Storytelling: digital technology allows us to tell tales in innovative new ways. As the tools available to publishers grow more sophisticated, it's up to us to experiment and see what sticks. [...]Stories are memory aids, instruction manuals and moral compasses. When enlisted by charismatic leaders and turned into manifestos, dogmas and social policy, they've been the foundations for religions and political systems. When a storyteller has held an audience captive around a campfire, a cinema screen or on the page of a bestseller, they've reinforced local and universal norms about where we've been and where we're going. And when they've been shared in the corner shop, at the pub or over dinner they've helped us define who we are and how we fit in. Human experience is a series of never-ending, overlapping stories bumping into one another in expected and unexpected ways.[...]

Enter the lab at the Science Museum and see the magic of the web brought to life through 5 physical Chrome Experiments.

Department of Arts and Cultural Studies, Copenhagen: Conference: The role of the art museum has changed drastically during the past decades. So has the role of contemporary art within the art museum. Once institutions for preserving and producing knowledge for eternity, museums increasingly become arenas for experience and events of the moment.

The role of the art museum has changed drastically during the past decades. So has the role of contemporary art within the art museum. Once institutions for preserving and producing knowledge for eternity, museums increasingly become arenas for experience and events of the moment.

Wie im Film konnten sich nach der Premiere auch rund 30 Autoblogger aus ganz Deutschland fühlen: sie verbrachten die Nacht im Mercedes-Museum. "Nachts im Museum 2.0" hatten die Veranstalter das Experiment genannt. Und wie im Film aus dem Jahr 2006 gab es dabei ziemlich ungewöhnliche Erlebnisse.

German Traces NYC is mobile, augmented reality experience designed to let learners explore German cultural heritage in New York City. The application makes use of archival documents, photographs, and multimedia narratives to bring to life to this significant thread of New York City and United States history.

Building a Global Experience Language for the BBC Nevill Brody

Jüngst entschied sich der Egmont-Verlag, die Website für das Magazin FHM ganz aufzugeben und durch eine Seite bei Facebook zu ersetzen.

o one can have a "museum experience" without stepping foot in a museum. Let's just get that out of the way. It doesn't matter how digitally precise your online version of "The Forge of Vulcan" is, tilting your head to draw the light across the raised ridges of paint is not an electronically duplicable experience. That doesn't mean digital art collections don't have great value. After all, art books do. So here are half a dozen great digital art collections you can visit to inspire your own trip, or your own thinking about art, or to remind yourself or to learn a bit for no other reason than digital art is better by far than no art at all. In order to keep from wandering off the path never to be seen again, let's focus on Western painting.

Ein Beispiel für neue Zielgruppen erreichen (s. Konferenzbeitrag Archimuse: http://www.archimuse.com/mw2008/abstracts/prg_335001837.html Our solution (in progress): - By creating many experiments across the widest range of existing social networking models we are making links with the local community who in turn show what the Gallery and the area is really about through their own images, ...- We always ensure we can back each experiment with adequate resources and talent to ensure a high quality result that does justice to the Gallery we represent.

The following strategy worksheets and guidelines were developed by Enterprise Technology and Local History Services at the Minnesota Historical Society (MHS) as templates for use by other history organizations. The guidelines were created both from experiences here at MHS and by glomming good ideas from the guidelines of others around the web.

The following strategy worksheets and guidelines were developed by Enterprise Technology and Local History Services at the Minnesota Historical Society (MHS) as templates for use by other history organizations. The guidelines were created both from experiences here at MHS and by glomming good ideas from the guidelines of others around the web.

Here is a post to inform you of two conferences that will take place at the end of November and beginning of December, one in London, one in Paris. Both are organised by the Wikimedia Foundation in partnership with arts institutions who will be presenting and discussing their experiences on knowledge sharing and partnerships with Wikimedia in that regard. As structured organisations with a deep sense of hierarchy and copyright protection of their pieces and collections,  arts organisations tend to present themselves as essentially resisting these notions, although avid readers of Museum 2.0, Museum 3.0, and French speaking readers of Mixeum are fully aware that the picture of museums today on these issues is a fragmented one. 

But the simplest evidence I have for the statement that design impacts visitor contributions comes from a formative evaluation performed at LACMALab for their nano exhibition in 2004. In the report, evaluator Marianna Adams described a simple experiment in visitor response. LACMALab took one question--"What connections do you see between art and science?"--and created two ways for visitors to respond. In March, visitors were offered white 4"x6" notecards and golf pencils. In April, these were replaced with blue hexagonal cards and full-size pencils.

Museums are increasingly using technology to reach an audience outside their walls. And I, of course, am a complete evangelist for new media and for institutions adapting as fast as possible to changes new technologies are bringing to our world. But when the time came to talk to the museum heads about using social media tools to expand their audiences and enrich the museum-going experience, I found myself oddly reticent.

"Muse about where you go - around town or inside a museum. Share your experience and see what others recommend around your home and around the world. Explore the Google map and some of the initial MuseTrek mapped venues to see what some early users are musing about."

Most UX designers use qualitative research-typically in the form of usability tests-to guide their decision-making. However, using quantitative data to measure user experience can be a very different proposition. Over the last two years our UX team at Vanguard has developed some tools and techniques to help us use quantitative data effectively. We've had some successes, we've had some failures, we've laughed, we've cried, and we've developed ten key guidelines that you might find useful.

I've spent much of the past three years on the road giving workshops and talks about audience participation in museums. This post shares some of the most interesting questions I've heard throughout these experiences. I like to use half of any allotted time slot to talk and half for Q&A, so we usually have time to get into meaty discussions. Feel free to add your own questions and answers in the comments!